all of it at the Royal Court Theatre review *****

all of it

Royal Court Theatre, 11th February 2020

So we will have to wait for Alistair McDowall’s latest full length play The Glow at the Royal Court, postponed thanks to you know what. Mr McDowall was the pen, and brains, behind dystopian/sci-fi/mystery/thriller/social satires Brilliant Adventures, Talk Show, Captain Amazing, Pomona and X. His plays sound audaciously bonkers in synopsis but actually work, albeit with a lot of creative hard work, on page and stage. He is one of our most talented and ambitious young playwrights, influenced, as they all are by the godhead Caryl Churchill, as well as by Sarah Kane and cinema, but blessed with the skill to carry it off. The Glow, which look like it kicks off in the world of spiritualism in Victorian Britain, was one of my most looked forward to plays. I will just have to keep looking forward.

In the meantime we were treated to this. all of it. A 45 minute steam of consciousness monologue which tells the story of one unnamed woman’s life. All of it. The extraordinary Kate O’Flynn, directed by Vicky Featherstone, on a stool under a single spotlight, (easy money for lighting designer Anna Watson but exactly what was required). It starts with noises, burbles, single words, repeated. The child. The teen, self-absorbed, desperate to fit in, discovering drink. Sexual awakening. Marriage, divorce, the monotony of work, re-marriage, motherhood, child-rearing. Disease. Death. Our heroine is resolutely ordinary. I have no idea what it is to be a woman but Mr McDowall seems to get inside her head. The text is funny, warming, smart, insightful. Kate O’Flynn creates rhythm, drama and empathy from the dissociated words. Think Beckett, or, better still, an unpretentious Joyce.

I was captivated. Though I can see why some might have been underwhelmed by the experiment. That’s life.

Beckett Trilogy at the Jermyn Street Theatre review ****(and some other at-home Beckett stuff)

Beckett Trilogy: Krapp’s Last Tape, Eh Joe, The Old Tune

Jermyn Street Theatre, 4th February 2020

Fragments: Beckett by Brook – Rough for Theatre I, Rockaby, Act Without Words II, Neither , Come and Go – VIMEO, Bouffes du Nord – 26th March 2020

Endgame/Rough for Theatre II – Digital Theatre, Old Vic – 9th April 2020

Having put in countless theatre hours over the last few years the Tourist feels ready to get to grips with another of the “writers who changed theatre” in the form of one Samuel Beckett. Anyone with a passing interest in culture generally, and theatre particularly, is going to have encountered the great Irishman, but, to the uninitiated like me his reputation is fearsome. Still no time like the present.

Especially when the equally fearsome Peter Brooke, similarly ascetic and similarly a Parisian expat, has kindly posted up a recording of his (and Marie-Helene Estienne’s) production of Fragments: Beckett by Brook from the Bouffes du Nord in 2018 (and last in London in 2008). I have had a couple of cracks at Mr Brooke and Ms Estienne’s oeuvre with mixed success, Battlefield at the Young Vic, their take on The Mahabharata, and The Prisoner at the NT, both works of elongated, and exacting, beauty. Fragments comprises five short pieces by Beckett, Rough for Theatre I, Rockaby, Act Without Words II, Neither and Come and Go, performed by, drum roll please, Kathryn Hunter, Jos Houben and Marcello Magni. Jacques Lecoq alumni, and all round stage acting royalty, especially when it comes to the tough, avant garde-y stuff.

Now it doesn’t take a genius to work out that Beckett, in addition to posing questions about language, memory, purpose, mortality, despair, isolation, confinement, observation, connection, indeed, the whole futility, with tenacity, of human existence and nature-of-the-self gig, liked a laugh, especially of the mordant, and/or gallows absurd, kind. Which is what PB and the three actors mine in Fragments. It isn’t too much of a leap from this to Python. Honestly. Of course it helps that Belgian actor Jos Houben is peerless as a physical comedy theatre actor, that Kathryn Hunter is the very definition of “shape-shifter”, (whatever you do do not miss an opportunity to see her on stage, most recently in the RSC Timon of Athens), and that Marcello Magni was a founder member of Complicite, (the other two are regular collaborators), about as innovative a theatre company as it gets. Oh, and he was also the voice of Pingu.

Rough for Theatre I is probably the trickiest customer on the bill. A blind beggar, busking on his fiddle, teams up with another chap who has lost a leg. Both reference past lovers/carers/family. They might be abandoned. They search for food. Mutual support turns to annoyance and, maybe, violence. A lot of the classic Beckett stuff is on show, a couple of cranky fellas bound in uneasy interdependence. But it doesn’t quite persuade and turns into a long, old 20 minutes.

Rockaby, with the archetypal old woman, W, in a rocking chair, the ghostly vibe, the simple, pre-recorded, dimeter verse echoing a lullaby, the hypnotic stresses and repetitions, (each of the four sections begins with “more”), the gradual withdrawal of W from the world, and her eventual death, is a work that most definitely does work. Especially in the hands, and eyes, and mouth, of Kathryn Hunter. There isn’t much here to express, but express she does, packing all manner of emotion into less than 10 minutes. Fuck life as W says. But do it gently.

Act Without Words II, like its companion piece, and the likes of Waiting for Godot, Endgame and Krapp’s Last Tape was written ion the 1950s, but unlike them it is a mime piece. Two fellas, of course, emerge consecutively from sacks on stage after being prodded by a large pole, before engaging in their, presumably daily, routines. One is chaotic, a hypochondriac, the other fastidious, a clock-watcher. A recipe for audience bemusement? You might think so from the sound of it, but, in the hands of Messrs Houten and Magni, it is hilarious, Laurel and Hardy-esque, one of the funniest things I have seen on stage. With Rockaby and now this I think I can see the attraction of Beckett.

And Come and Go only added to the attraction. Three middle-aged women, Flo, Vi and Ru, friends since childhood, Houten and Magni decked out with coats, hats and a bit of rouge, sit on a bench, natter, and then, as each moves away in turn, a whispered secret something is exchanged between the remaining pair. At the end they link hands in the “old way”, a Celtic knot. I can imagine this scenario might come across as foreboding, a reference to incipient illness or death, we don’t actually hear the secrets, but in this production it is comic, the whispers more gossipy or bitching. More Cissie and Ada (google it) than “staring into the void”. After all we all like to chide our friends behind their backs with our other friends in the guise of concern.

Neither is a poem of sorts, just 87 words, in ten lines, with apparently just 3 commas. That’s minimalism for you. It is some kind of dialectical journey, maybe to death, who knows. Kathryn Hunter can’t make its meaning clear but blimey does she make every word count.

All in all then highly recommended (it’s still on Vimeo). How all the little tragi-comic stuff can shed a light on all the big stuff which rattles around in our heads. Not, as Peter Brooke says, wall to wall despair and pessimism as Beckett reputation dictates. And showing how the best actors can reveal, even to the dubious like the Tourist, that there is more to Beckett than initially meets the eye, and ear.

On to Endgame. Or to be more precise Rough for Theatre I and then Endgame. From the Old Vic. Now my scheduled performance was a casualty of you know what but the nice people at the Old Vic offered up a filmed version of the production which I snapped up. Now, before the interruption, the draw of Daniel Radcliffe and Alan Cumming, had ensured brisk business for something relatively challenging judging by the wait it took me to secure my favourite perch. For Endgame, Fin de partie in the original French, (the language Beckett always initially used), does jog on a bit coming in at 80 minutes. It is bracketed up there with the likes of Waiting for Godot in the Beckett canon, and, whilst the critics response to the production was decidedly mixed, there was enough to make me gently expectant.

I have to say didn’t really get on with it though. Whether this was down to play or to performance, it is difficult to say. Having now see what PR and M-HE could do with Beckett in Fragments, (and, as you will see below, what Trevor Nunn was able to serve up in his Beckett trilogy), I think the director, here Richard Jones, might have been culpable. True the director’s freedom to interpret is proscribed by the still vice-like grip exerted by the Beckett estate, demanding compliance with the great man’s stage directions, and by the stripping away of realist anchors, the lack of plot, the minimalist aesthetic and so on. Even so I still think the thematic repetition, this really is about four troubled souls going round in circles, and the skill of certain the actors, left Mr Jones only really scratching the surface.

Alan Cumming played Hamm, confined to a chair, (with a rather distracting pair of fake stick-thin beanie legs on permanent display), with a splenetic camp which at first amused but soon curdled. And Daniel Radcliffe, who to his credit, seeks out acting challenges in an almost penitent way since the screen Potter juggernaut was wound up, is similarly one-dimensional as restless servant/foundling Clov. I am afraid he does’t really seem to get with the profundity, opting for a superficial humour in word and deed. The two don’t feel that they have spent an eternity locked together. Contrast this with Karl Johnson and Jane Horrocks, (with facial prosthetics which really do convince), as Magg and Nell, Hamm’s parents, living in wheelie bins downstage left. Much less to say, but by not trying to grasp for comedy that isn’t there, both convey far more .

In order to get under the surface of “life is absurd”, and “in the midst of death we are in life”, (or maybe it’s the other way round), I think I can see that creatives need to delve a bit deeper. If all we see is the outward character, like a realist play, here Hamm as childish despot “actor” doing a turn primarily for himself, or Clov as mild-mannered extra from the Ministry of Silly Walks, it just become too much hard work to listen to what Beckett was saying. I am guessing the existential bitterness at the core of Endgame really is the deal but having the confidence to see that through feels like a big ask. As Hamm says “nothing is funnier than unhappiness” but only I guess if you don’t try too hard to make it too funny in the first place. I will need to try again with the play to test the theory or to accept that it could just be that I simply don’t have the patience to see it through in which case, mea culpa.

As it happens I preferred Rough for Theatre II. Two bureaucrats, Bertrand and Morvan, are in a room assessing the evidence as to whether would be suicide Croker, (Jackson Milner standing stock still for half an hour with his back to us – bravo fella), should jump or not. There is a contrast between the two, Cumming’s Bertrand is sweary, impulsive, keen to crack on, Radcliffe’s Morvan, more measured, though indecisive. The scenario is milked for gags as it echoes the likes of It’s A Wonderful Life, Here Comes Mr Jordan and A Matter of Life and Death from the 1940s. Croker might have been rejected, he might be ill, he might be a tortured artist. The comments of the various witnesses from Croker’s life are mostly banal, only occasionally poignant or profound. The banter between B and V edges towards Shakespearean wordplay, as well as the more visible vaudeville. The end is ambiguous. It could be Pinter, which is probably why I much preferred it

Right finally to the Jermyn Street trilogy. Sorry that took so long but this is how I learn. Firstly the intimacy of the JST served these plays very well especially Krapp’s Last Tape and Eh Joe. Secondly the cast. David Threlfall, James Hayes, Niall Buggy and, even if in voice only, Lisa Dwan have the measure of Beckett. It is rare to see Lisa Dwan’s name in print without the words “foremost Beckett interpreter/scholar” appended, (Not I, the one with the mouth, is her particular Beckett party piece), though she has plenty of other heavyweight acting credits to her name in Ireland and elsewhere, as does fellow Irish actor Niall Buggy. David Threlfall is just an all round top geezer, last seen on stage as the RSC Don Quixote, who has played Beckett on screen, albeit in the hit and miss comedy series Urban Myths. James Hayes has been treading the boards for as long as the Tourist has been mortal, and collaborated with Trevor Nunn at the JST in radio play All That Fall in 2012 with Eileen Atkins and Michael Gambon.

Understandably the Beckett estate rates Trevor Nunn, now 80. He is, after all, pretty much the Father of the House when it comes to theatre direction. Unlike Richard Jones whose USP is showy, scatter-gun, (though often brilliant), opera. Max Pappenheim is able to conjure up a sound design with real impact in a space he knows well and I assume David Howe, normally to be found lighting up the West End, said yes straight away when he got the Nunn call. The monochrome world, specified for Krapp’s Last Tape, persists throughout. Old age and memory is what links the three works. What four old men remember and what they forget.

Krapp’s Last Tape, from 1958, the year after Endgame, was big draw here, with James Hayes, literally, in the chair. Krapp on his 69th birthday, and sporting a natty pair of snakeskin shoes, sets out to make a tape (reel-to-reel kids, ask Grandad, though make sure it is by phone) documenting the last year and to review a similar tape he made when he was 39, made after he had returned from celebrating that birthday in the pub. This tape mocks the commentary of another tape he made in his mid twenties. He is more interested in the definition of the word “viduity” than the death of his mother. (The table is piled up with tapes, a ledger and the dictionary). Some memories annoy him, others, notably a romantic tryst in a punt, enchant him. The 39 year old is confident in the choices he has made, the 69 year old full of regret, notably in his writing. Is this his “final” tape?

Beckett was 52 when he wrote it. You can read whatever you want into it but it seems easy to just take it as autobiography and revel in the power and construction of memory. Failures in love, in work and in drink. It went through many drafts, much like our memories I suppose. The Wiki page is very helpful in fleshing out the characters, real and fictional, mentioned in the monologue and in describing Beckett’s own position at the time of writing.

I can’t pretend I was hanging on every word of James Hayes’s mesmerising performance. but that is because I ended up revisiting my own past in my mind. What better praise can I offer?

Eh Joe is pretty scary. It was SB’s first play for television, first performed in 1966 by Jack MacGowan, for whom it was written, with Sian Philips as The Voice. Joe, in his fifties, is sitting alone on his bed in dressing gown and slippers, with a camera trained on him. He gets up to check windows, curtains, door, cupboard and bed as if in fear. The camera cuts to a close-up of his face from just a metre away which slowly zooms in, nine times, through the remaining 15 minutes or so. Joe is relaxed, though confined, staring at, though not into the camera. Then the voice, here Lisa Dwan, starts hammering away at him, the recording heavily miked, accusatory, recalling their relationship and his abandoning of another woman who attempts suicide. She is the guilt-ridden voice inside his head I guess, the feminine judge of his masculine sin. He has excised the voices of his mother, father and others who may have loved him. The Voice’s words brim with violence. There is Catholic and sexual guilt aplenty. Niall Buggy, for a man who doesn’t speak, is riveting and now I get why Lisa Dwan is so well regarded. Once again it is all about the getting the rhythm and melody of the language to convey interiority.

Lisa Dwan was 12 when she saw Eh Joe on the telly. It stayed with her. I’m not surprised.

Fortunately we were then given a break before The Old Tune, which compared to the two previous plays, was a breeze. Rarely performed, it is a free translation by Beckett of a 1960 radio play, La Manivelle (The Crank) by his Swiss-French mate Robert Pinget. Niall Buggy and David Threlfall are a couple of Dublin old-timers, Gorman and Cream, shooting the breeze on, of course, a bench. They share memories, all the way back to early childhood, but can’t always agree on exactly what. It’s got some laughs.

So that’s that then. No doubt I will be back to Beckett. But for the moment, at least when the performers are on song, memories are made of this ….

Snowflake at the Kiln Theatre review ****

Snowflake

Kiln Theatre, 28th December 2019

Lucky family. Never know what Dad is going to serve up as their Christmas theatrical treat(s). And always careful to at least try to conceal their disappointment. Having banked the virtual certain success of Mischief Theatre’s Magic Goes Wrong (of which more to come), and comforted by the reviews from its original run in Oxford last year, the Tourist felt confident enough to take a punt on this. And BD had already enjoyed one Snowflake provocation in the form of the second half of the incomparable Stewart Lee’s new show.

Now IMHO Mike Bartlett is incapable of writing bad plays, or indeed screenplays. They may not always come off entirely, as here, but there will always be enough in terms of concept, narrative, character, text, idea, form, to get your teeth into. He doesn’t mind tugging a few strings, emotionally or in terms of argument, or taking a few liberties with construction. Which explains Snowflake’s, appeal, and, slight, downfall.

Andy (Elliot Levey, who has a habit of popping up in all manner of fine work, which, in some cases, is partly down to him) has hired a church hall in Oxfordshire on Christmas Eve. We soon lean that he is rehearsing for a possible meeting with his estranged daughter Maya (Ellen Robertson) who left home after the death of her mother, from whom Andy is still grieving. Mr Bartlett doesn’t make this too easy however devoting the whole first half, over 40 minutes, to a monologue in which Andy reveals his attempts to trace Maya and his own weaknesses and biases. This is not a man possessed of much in the way of self-awareness. Give or take your archetypal Boomer and, as such, far too reminiscent of dear Dad, sparking a lively family debate at the interval, largely between BD and the Tourist refereed by the SO and LD.

We knew the perspective would shift, but the catalyst, the arrival of straight-talking Gen Z’er Natalie, (Amber James, whose career I have been attentively following since the Guildhall, through the RSC), though not straight, was as unequivocal as I have come to expect from this writer. Natalie has come to collect crockery after and Xmas lunch and pretty soon the two are at loggerheads over political and social values, and, especially, identity. Both are typical of their “generation” but neither are cliches, and, on this, and given his gift for the gab, Mike Bartlett is able to hang some fine, credible and funny, dialogue and some spicey argument. And when Maya finally arrives MB, again with open heart, sets up the argument for private and public reconciliation of differences.

Easy enough to pick holes, which we did, but this was for me, if less for the others, a satisfying, shrewd and warming slice of theatre. Claire Lizzimore’s direction was well honed after the first run, rolling with the pronounced ebb and flow of the narrative, and Jeremy Herbert’s community hall set fit the Kiln (remember this was once Foresters Hall) to the manor born. And, whilst Ellen Robertson had a little less on her plate than her colleagues all three served up an acting feast. Ideal Christmas fare then.

Death in Venice at the Royal Opera House *****

Death in Venice

Royal Opera House, 3rd December 2019

Fresh from the superlative semi-staged version of Peter Grimes from Ed Gardner, the Bergen PO and assorted chums and straight into this. A top drawer new version of Death in Venice from David McVicar. I have fond memories of seeing Deborah Warner’s production of DIV at the ENO with, guess who, Edward Gardner on conducting duty, which also bewitched the SO, (who has also been persuaded by The Turn of the Screw and, though she may not know it, is going to be a fan of Britten opera).

Now I am partial to BB and his operas. As you can see from recent viewings documented hereabouts. They are up there with the best of British cultural expression, indeed the best from anywhere. But that doesn’t me they are all perfect or that creatives can’t fall down when tackling them. Paul Bunyan is a bit bonkers, (the recent ENO outing wisely went with the flow), the Rape of Lucretia has a pretentious and inappropriately Christian libretto from Ronald Duncan, you need to be in the right mood for the Church Parables, I have never seen Owen Wingrave live or in the TV original and Gloriana is, well, just a bit crap. Even the musically bullet-proof, Grimes, TTOTS, A Midsummer Night’s Dream, need sympathetic performers and directors. Billy Budd is always a tricky customer. The comedies/children’s operas are too generous to fail other than in the eyes and ears of the flinty-hearted.

Some say Death in Venice is also a trick(s)y opera though I have never really understood why .(Maybe it’s because it isn’t a simple, straight A to B, with obstacles, misogynistic love story). Here David McVicar got the Edwardian look and feel spot on. DIV is a set, costume and lighting designer’s wet dream and Vicki Mortimer and Paule Constable duly delivered to create exquisite, cinematic, vertical and horizontal tableaux across the 17 scenes with maximum efficiency and impact. The water of the lagoon ever present in the backdrop. With no f*cking around with interpretation. Visconti and Mann would be purring in their graves, (or suing for plagiarism), so precise was the realisation. Even the gondola looked real. And that was with two fellas pushing it. Lynne Page similarly brought just enough to the table with the choreography of the dance scenes. Realistic with just enough grace and artistry especially from our lovely, knowing teenage Tadzio (Leo Dixon) and his irate chum Jaschiu (Olly Bell).

But the real triumph was not having our van Aschenbach go too full-on, homo-erotic, pretentious, unhinged, tortured artist too early. He really is a bit of a ninnyhammer getting all lathered up with the young boys, the culture, the heat, the plague, the offuscazione, all those words, all that useless beauty, that Apollonian/Dionysian dialectic, all that bloody philosophising. (Honestly Gustav, don’t beat yourself up mate). He is though a clever cookie, in control mentally and physically until the lurgy properly strikes, and he can eloquently verbalise. At length. Immense length. In Myfanwy Piper’s appropriately mannered libretto. Brought to life by the beautiful voice of Mark Padmore. Who can act. Even to the back of the stalls.

This isn’t quite a one-man show. The support of Gerald Finley as Traveller/Fop/Gondolier/Manager/Barber/Player/Voice of Dionysius made this very special. Has there ever been a more inspired piece of operatic doubling (and not just in the service of cheap laughs and flimsy plotting) or a more talented singer/actor to pull it off? And, as if that wasn’t enough we get the sweet counter-tenor of Tim Mead interjecting as hunky tourist Apollo. And the never-ending stream of “extras” including the likes of Elizabeth McGorian as the Lady of the Pearls and, get this, Rebecca Evans as the Strawberry Seller.

But the ever present, tireless Mr Padmore is what made this special as we go deep inside von Aschenbach’s head. An operatic Hamlet. What is real and what is imagined? Messrs McVicar and Padmore don’t tell, giving the creepy Don’t Look Now Venice a wide berth, but do largely make sense of GvA’s meanderings and even make him seem human rather than the vessel for Thomas Mann’s symbolism and aestheticism. Not that it matters. BB’s music is so clever, haunting, sparse, ascetic, with the repetitions, motifs, and the gamelan shimmers, that it tells the story, conjures up place and inhabits character all by itself. Even at the end, like GvA consumed by his own mortality, BB was turning out perfection with that poignant passacaglia, (a link back to the Doric Quartet’s muscular performance of BB’s final quartet a couple of weeks previous), and Richard Farnes and the ROH orchestra know exactly what is required of them. This score then is the truly beautiful.

25 years since the ROH last staged DIV but I’d be surprised if it doesn’t come back soonest. So go see what I mean. And pay up for a decent perch as, by ROH standards, Britten comes cheap. All the toffs seemingly never tiring of OTT Italian C19 flim-flammery or worse still Wagnerian guff.

I see I have a couple more outings with Gustav van Aschenbach later in the year. Ivo van Hove and Ramsay Naar will be bringing ITA’s interpretation over to the Barbican in April with music from Nico Muhly and the great Greg Hicks will be serving up his solo turn at the Arcola in June. I expect they will be quite different.

The Beauty Queen of Leenane at Queens Theatre Hornchurch review ****

The Beauty Queen of Leenane

Queens Theatre, Hornchurch, 14th November 2019

From one side of London to the other. All on track until the very last gasp, so snuck in a few minutes late to this. A big thanks to the very helpful ushers at this friendly house. TBQOL isn’t starved of revivals but this was my first live viewing of Martin McDonagh’s first play, though somewhat nominally since the next two in the Leenane Trilogy, A Skull in Connemara and The Lonesome West, as well as the first two of the Aran Islands trilogy, followed hot on its heels in the mid 90s. Hence my completist determination to see it.

And the fact that it had attracted some decent reviews at the run at Hull Truck, the co-producer. Whose veracity I can testify to. Designer Sara Perks has delivered a Connemara farmhouse, shared by Mag Folan (Maureen McCarthy) and daughter Maureen (Siobhan O’Kelly), required for all these plays, but with a twist. The walls are half-built, foretasting Maureen’s escape, though beyond the walls all is dark, in Jess Addinall’s moody lighting design. (There is an interview with young Ms Addinall, who started as a temporary technician at Hull Truck, which shines a light !! on her work and ambitions).

At its heart this is a simple story. 70 year old Mag is suffocating the 40 year old Maureen, who, after her two sisters married off, grudgingly tends to her every whim, tea, porridge, lumpy Complan. When she meets old schoolfriend Pato Dooley (Nicholas Boulton) at the farewell party of a visiting American uncle the chance to escape beckons, despite Mag’s interventions. The only other character is messenger Ray (Laurence Pybus), Pato’s younger brother, default setting bewildered, distracted by casual violence. This being MM the course of true love doesn’t run smoothly and things don’t end well.

It is brilliantly written, with exquisite dialogue, by turns comic and tragic, (my favourite, the crucial fire poker is casually described by Mag as “of sentimental value”), and a sturdy plot. That’s why it won a ton of awards when it first appeared in 1996, in Galway itself, before the Royal Court run and then transferring to Broadway in 1998. It is also, intertwined with the bitterness and regret, of all three characters, brimful of pathos, perhaps more so than the other Irish plays. Maggie McCarthy, slumped in her chair, allows us to see Mag’s vulnerability even as she passively-aggressively plots to keep Maureen in her place. Nicholas Boulton shows us the deep sadness at the core of Pato, happy neither in London, where he goes to work, and home in Leenane, and the excitement with which he imagines a new life with Maureen in Boston. And Siobhan O’Kelly is mesmerising as Maureen, whose past, and isolation, explains her awkward, exaggerated behaviours. Daughters turn into their mothers. Who’d have known.

Just a shame some berk in the audience seemed incapable of turning their phone off, twice, much to the chagrin of Ms O’Kelly. If you don’t know how your phone works (which I surmise was the issue here), ask someone younger (yep it was an early boomer), or, better sill, don’t bring it to the theatre. Whatever it is can wait. You are not that important.

My guess is that Hull Truck AD Mark Babych is a big fan of McDonagh’s. Mind you who isn’t. The SO and I still rate Hangmen as the best play we have seen in recent years, LD’s favourite was the Michael Grandage revival of The Lieutenant of Inishmore with Aidan Turner, and everyone I know who saw A Very, Very, Very Dark Matter, despite its flaws, hasn’t forgotten it in a hurry. Mr Babych has plainly lavished a great deal of care on this production and I am a little surprised that it hasn’t toured. Still, London audiences will have another chance to see the play at the Lyric Hammersmith later next year, in a production directed by LH AD Rachel O’Riordan (she kicked off her inaugural season with the superb version of A Doll’s House written by Tanika Gupta).

The Tourist recently saw another play centred on a dysfunctional mother-child relationship, Eugene O’Hare’s misfiring Sydney and the Old Girl at the Park. Chalk and cheese, This is how it should be done.

Sydney and the Old Girl at the Park Theatre review ***

Sydney and the Old Girl

Park Theatre, 1st November 2019

After the resounding success of Madame Rubinstein at the Park Theatre a couple of years ago it was a pretty easy sell to get BUD, KCK and the SO along to the same venue to see our favourite potty-mouthed, near-octogenarian National Treasure, Miriam Margoyles’s latest theatrical outing. SATOG however, whilst, when it got going, offering the twinkly eyed MM opportunities to deliver trademark laugh out loud waspish epithets, was a very different kettle of fish to the straight comedy of Madame R, as either of its lead characters might have said.

MM played the cantakerous Old Girl, Nell Stock, holed up in her shabby east End house, with 50 year old, live at home son Sydney, played by the much admired Mark Hadfield, who, I am ashamed to say, I didn’t initially recognise. Maybe that was because to say Sydney is peculiar would be a massive understatement. He is the archetypal oddball loner and he and Mum are locked into a textbook love-hate relationship. The setting smacks of Steptoe and Son and the dialogue that writer Eugene O’Hare employs to express the toxic dynamic hints at Pinter, or, in contemporary terms, maybe a palatable Enda Walsh . Sydney holds some fairly rum, if unconvincing, opinions, about women and foreigners, and when he does go out, nurses a pint in the local whilst pretending to be with friends. Nell simultaneously detests and relishes the hold she has over him.

Nell’s mobility is limited, spends most of her time in a wheelchair, and needs constant care. Cue Irish home help Marion Fee (Vivien Parry), all round good egg and saviour to the little Catholic orphans of London. After some variable, in terms of length and quality, set up scenes, we discover that Nell is looking to cut Sydney out of her will and deny him the inheritance of the house on which he is fixated.

Which is why I had anticipated an Ortonesque payback in the second half involving some artful double crossing between the three and the acerbic humour ramped up. I was wrong, Instead the guilt which binds Nell and Sydney together, hinted at earlier with Sydney’s fear of sirens, is given a full blown reveal complete with lighting (Tina MacHugh) and sound (Dyfan Jones) effects.

I assume that it was Mr O’Hare’s deliberate intention to shift tone through his play but it left the Tourist unable to settle on plot and character. Which is a shame because when MM and MH got going in the second half, before the overwrought ending, this was a fine black comedy. Vivien Parry had less success trying to persuade us of Marion’s ambivalence. Philip Breen’s direction gives the actors time and space to deliver the lines, as does the elaborate set of co-designers, Ruth Hall and Max Jones. But despite the championing of the director and cast the play never quite hits its stride. Nothing wrong with mixing comedy and tragedy, the lodestar of best dramatists in history. It’s just that without a thorough stir the ingredients can sometimes be half-baked and a bit too lumpy to satisfactorily digest.

P.S. Would be great if the next time MM takes to this, or another London stage, it would be in a reprise of her one woman show. Ideally as unexpurgated as possible. Or better still if the production of Lady In The Van that the good people of Melbourne, MM’s adopted home, enjoyed last year could find its way here.